Blunt Liver is dedicated to sculpture as a prehistoric practice of shaping inanimate matter. The book brings together two distinct bodies of work that share both thematic and formal connections.
‘tombs’ has been developed in response to a broader preoccupation with burial and entombment. Each tomb originates from a sculpture created by another artist.
They are constructed following the principles of a multi-part mold: once the original sculpture is removed, the mold is sealed.
The resulting tomb takes the form of a simplified, non-detailed shape that retains the contours of its source, subtly thickening it as if buried beneath a layer of snow.
‘Heads’ is a series of black and transparent glass sculptures. Each head is blown into a hot plaster mold that disintegrates during the process. The sculptures match the volume and size of a human head, yet each contains at least two figures rendered in their natural proportions. this section of the book is interwoven with drawings created in parallel, exploring different possibilities of enmeshment and separation emerging from the static body of the work.
‘Blind Arch’ compiles a series of drawings created with carbon paper using a technique of folding and engraving, allowing the carbon paper to imprint upon itself.
Each day, I took a sheet of carbon paper, folded it multiple times so that its front side comes into contact with its reverse, and carries it with me throughout the day. Several times a day, I took out the sheet and inscribes a small image—sometimes a miniature—using a pin, a small stick, or another engraving tool. After each inscription, I’d unfold and refold the paper in a different way before returning it to my pocket, where it awaits the next engraving. The nature of the folding creates a symmetry in which images are duplicated in varied ways, forming compositions that are largely arbitrary yet mathematically trace the sculptural essence of the folding process. Each image is duplicated through the carbon paper, merging different drawings made in separate places and times. During the engraving process, the artist cannot see the image being inscribed or those surrounding it, resulting in a nearly blind drawing practice. The sequence in which the images were drawn remains unknown, yet the logic of duplication and folding is evident in the intersecting and interwoven symmetrical structures. In the end, the paper is fully unfolded, and alongside the fold marks, all the images converge into a single drawing.
Ultimately, the drawing exists as a double-sided work: on one side, dark images appear on a white background, while on the other, light images emerge on black paper.
Tombs
Each tomb originates from a sculpture created by another artist.
They are constructed following the principles of a multi-part mold: once the original sculpture is removed, the mold is sealed.
Heads
A series of black and transparent glass sculptures. Each head is blown into a hot plaster mold that disintegrates during the process. The sculptures match the volume and size of a human head, yet each contains at least two figures rendered in their natural proportions.
Blind Arch
A series of drawings created with carbon paper using a technique of folding and engraving, allowing the carbon paper to imprint upon itself.
